Field
Embodiments of the present disclosure generally relate to audio devices that are used to enable the presentation of live music performances, and methods of using the same.
Description of the Related Art
During live performances musicians and performers generally have a need to hear themselves and other band members in order to stay in-time and/or in-tune. Historically open speakers called floor wedges, or simply wedges, have been used to provide a combined mix, or “monitor mix,” of the performers voices, instruments and/or music tracks in order for the performers to hear other pertinent audio during a performance at a venue.
FIG. 1 is a schematic diagram that illustrates a venue 100 in which a performer 101 is setup to perform to an audience 102. The concert venue 100 generally includes a plurality of wedges 110, one or more house speakers 120, and a sound mixing board 130. The concert venue 100 also contains various audio sources that include one or more performer microphones 145 and one or more instrument inputs 140 that are in communication with the sound mixing board 130. Typically, the audio signals derived from the one or more performer microphones 145 and one or more instrument inputs 140 are used to form the monitor mix that is delivered to the one or more of the wedges 110 via an output connection found in the mixing board junction box 135 of the mixing board 130 during the live performance. The one or more instrument inputs 140 may include audio signals generated by one or more audio devices that are able to receive sound or other input from an instrument. In one example, an instrument, such as a guitar 141 or microphone 143 positioned to receive sound generated by the instrument, and provide an audio signal to the mixing board 130 through the junction box 135 and cables 131 (e.g., cable snake). The one or more instrument inputs 140 are generally configured to generate an audio signal that can be received and processed by the sound mixing board 130 or other similar device for use in the generation of sound that is delivered to the audience through the house speakers 120 or a monitor mix delivered to one or more of the performers through one or more of the wedges 110. The sound mixing board 130 is thus a source of the sound that is delivered to the audience through the house speakers 120 and the monitor mix that is delivered to the performers through the wedges 110.
The electrical circuit that is configured to provide the monitor mix to the performer(s) via the one or more wedges 110 is referred to herein as the audio monitoring circuit, such as the conventional audio monitoring circuit 106 shown in FIG. 1. In one example, the audio monitoring circuit 106 includes the circuit elements (e.g., cables, wires, drivers, connecting elements, etc.) that are able to deliver the monitor mix from the mixing board 130 to the various wedges 110. In some configurations of the audio monitoring circuit, the wedges 110 receive a speaker level input signal (e.g., amplified signal) that is generated by amplifying the monitor signal provided by the mixing board 130 using an amplifier 107. Alternately, in some configurations of the audio monitoring circuit, one or more of the wedges 110 receive a line level input signal (e.g., unamplified signal) that must be amplified by an amplifier (not shown) found in each of the wedges 110 to provide the monitor mix to a performer 101. In one example, the audio monitoring circuit 106 includes cables 131, one or more connecting components in the junction box 135, the optional amplifier 107, input wiring 108, a first wedge 110A, interconnect wiring 111 and a second wedge 110B, as shown in FIG. 1.
In some conventional configurations, one or more of the performers 101 may separately receive their own monitor mix through an in-ear monitoring system 150. The in-ear monitoring system 150 may include an ear bud 156 and a controller 155 that is able to receive a monitor mix signal from the mixing board 130 via a communication link 154 (e.g., cable) and deliver it to the ear bud 156 via a communication link 157. Such a system may include a mixing device that is worn by the musician, for example, on a belt around the musician's hips, and includes an audio output for providing an audio signal to the musician through the ear bud 156. Conventional systems of this type require the use of multiple cables and wires to accomplish in-the-ear monitoring.
The process of setting-up the wedge(s) and/or in-ear-monitoring system(s) for each musician requires a significant amount of time due to the need to adjust the sound levels, equalization levels and audio content (e.g., instruments and singers) that each musician wishes to receive during the performance. In smaller concert venues, multiple acts, which typically perform one after another, may need to use the same, or “standard,” monitor setup. The required use of a single monitor setup is usually due to the limited time that is allowed each performer to setup the monitor mix and/or make it easy for the sound engineer or venue to setup of the sound system. However, the use of a standard monitor setup often doesn't allow each musician to receive a desired “monitor mix” during the performance.
Accordingly, there is a need for an improved method and system for providing a monitor mix to a performer that solves the problems described above.